An E-Book ---A FUNERAL MANUAL.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

An E-Book ---A FUNERAL MANUAL.Pdf 1 A FUNERAL RESOURCE BOOK BY REV. ALEX. B. NOBLE POSSIBLE TITLES: A Funeral Resource Book Funerals A Funeral Handbook Comforting Those Who Mourn Dust to Dust to Resurrection Conducting Funerals Pastoral Care of the Bereaved "In Sure and Certain Hope of Resurrection." Good News in the Face of Bad News The Art of Funerals DEDICATION: I dedicate this book to my five congregations so far, namely: ST. MARK'S PARISH CHURCH, RAPLOCH, STIRLING DUNBAR PARISH CHURCH. FYVIE PARISH CHURCH ROTHIENORMAN PARISH CHURCH SALTCOATS NORTH PARISH CHURCH They have been the people among whom I have learned the art of conducting funerals and giving pastoral care to the bereaved. 2 ABOUT THE AUTHOR: The Rev. Alex. B. Noble was born on 23 May 1955 in Fraserburgh, Scotland and brought up in the twin Aberdeenshire fishing villages of Cairnbulg and Inverallochy. His father, George S. Noble was a fish market auctioneer and businessman who became minister of Newarthill Parish Church near Motherwell for twenty eight years. The author graduated M.A. (in English and History) from Glasgow University in 1976, then B.D. (Honours in Systematic Theology) from Aberdeen University in 1979. After completing a Th.M. degree at Princeton Theological Seminary in the USA he served as an Assistant Minister in St.Ninian’s Parish Church, Corstorphine, Edinburgh. Alex. Noble was ordained as a Church of Scotland minister on 6 th . January 1982 and inducted as minister of St.Mark’s Parish Church, Raploch, Stirling for over eleven years. After six years as minister of Dunbar Parish Church in East Lothian, he became minister of the linked charges of Fyvie Parish Church and Rothienorman Parish Church in rural Aberdeenshire. His present charge is Saltcoats North Parish Church in Ayrshire. In 1991 he married Patricia West from Fraserburgh, Aberdeenshire who was a college lecturer in Business Studies. In his twenty years as a parish minister in various types of charges ranging from city to urban priority area to small town to rural villages and farms, the author has conducted well over 600 funerals. Visits before and after funerals mean that bereavement and death have been a daily part of his life and ministry and a particular interest within his general vocation. In 1999 his first book, entitled “Sunshine Through Shadows” was published by the Saint Andrew Press. It is a companion volume to this one in that it is written mainly for those who are bereaved and in grief while this one is written especially for those who seek to comfort them. 3 CONTENTS. A. THE FUNERAL SERVICE. 1. Arrangements 2. Beginning Funerals 3. Opening Sentences 4. Hymns and Music 5. Prayers 6. Readings 7. Poems 8. Parables 9. Eulogies and Prayerful Life Stories 10. Silence 11. The Committal 12. Benedictions 13. Particular Types of Funerals 14. Scattering or Burying Ashes B. PASTORAL CARE. 1. Before the Funeral 2. During the Funeral 3. After the Funeral C. ISSUES RELATED TO FUNERALS. 1. Legalities and Practicalities 2. Fees and Gifts 3. No Private Funerals 4. The Minister-Undertaker Relationship 5. A Note Regarding Undertakers 6. Extra Bits and Handling Awkward Customers 7. Going Back For Tea 8. Grief and Bereavement 9. Theology Of Death APPENDIX 1 A Complete Funeral in the Light of All the Above. APPENDIX 2 A Letter to Someone Recently Bereaved BIBLIOGRAPHY 4 A. THE FUNERAL SERVICE. 1. ARRANGEMENTS From the point of view of the minister or anyone who is conducting a funeral, in any capacity, the funeral begins as soon as the telephone rings or the doorbell chimes. (No wonder then that ministers sometimes get a phobia about ringing bells)! Ideally there is a relationship with the deceased and some members of their family before the death, but unfortunately often there is not. The door or phone bell rings and in an instant, life is changed! You may be washing the dog or playing with the baby; having a domestic row or be engaged in creative writing; perhaps watching your favourite television programme or absorbed in a pet project, but someone else's tragedy is your interruption. “Interruption” of course is not a healthy way to look at it. This is what we are called by God to do and it is our great desire and privilege to bring comfort to those who mourn (see Isaiah 61.1-3). Still, there is no getting away from the fact that in the twinkling of an eye you have to “go up the gears” and operate in a pastoral way (like it or not at this particular moment). This may incur the wrath of the dog, the children, your spouse or simply other aspects of your complex self other than the zealous workaholic! I was trained to always drop everything (within reason) and immediately run round and visit the bereaved family. I never really got a good explanation of what might be considered "within reason" nor indeed "beyond reason". That is the big question; that is the question which, if answered incorrectly, can cause immense personal stress and considerable marital strain even to the extent of divorce! We wear more than one hat and we have responsibilities in more than one direction, so we have to deal with the call for our services with more sophistication than simply always sublimating all things to rushing round to visit the funeral house. The other side of this coin is that quite often it turns out that the bereaved family does not want you round immediately. The death may just have occurred and they want to buy breathing space before meeting you or indeed 5 anyone. They may not know you and so they will have the stress of relating with a stranger at a time when they do not feel up to such an exercise of social skills. Even if they do know you, they may not want to answer a lot of questions. Furthermore, you represent the funeral of their loved one and the stark reality of death which are the very two things which a large part of them is busily trying to deny and block out. Often they are already out and about registering the death, buying black ties, closing bank accounts etc. All of this is stressful, especially within hours of the death, and so they have to psyche themselves up for it. Your unannounced arrival means that they have to psyche themselves up all over again. (Usually they can't settle until they have registered the death). For all these reasons there is much wisdom in thinking twice before rushing round to the bereaved family. I usually now telephone people first to introduce myself and ask when it would be most convenient for me to call round. I specifically mention the possibility of coming round right away (if that is at all possible for me to do) but then leave them to make the choice. More often than not we fix up an appointment later that same day but not right away. This also has the advantage that the chief mourners can gather the wider family (if they wish) so that they can all meet the minister and be involved in any family discussions. Conversely it also gives them time to get rid of any family or visitors whom they do not want involved! Sometimes when I telephone, the mourners express their preference for meeting me at my manse rather than in their own home, so I now offer them this choice. This can be because of noisy dogs or children or certain members of the family or friends who might cause embarrassment. For all these reasons the phone call gives the family and the minister much more flexibility. "As far as possible" I try to come round immediately. This phrase however has been reinterpreted at every stage in my ministry. As a zealous, young bachelor in my first charge I went round immediately almost without exception. Now, as a zealous, middle-aged married man, I find that there are more exceptions! I still frequently face the phenomenon of "going up the gears" as when you come home from the Sunday School picnic hot, sticky, sunburnt and tired, just dreaming of a long cool drink and calamine lotion, then just as you are putting the car into the garage, someone shouts: "It's the phone for you; it's about a funeral!" You know that you have to quickly leap from plodding mechanically towards that vision of the cool 6 drink in the fridge, to calming the fevered brow of others with much bigger problems than yours. It is a huge psychological journey but you have to traverse it and do so in only seconds before speaking to the mourners! As always, your function is both a task one and a relational one and it is primarily relational. On the face of it you are meeting for the task of making practical funeral arrangements. That however is the least of it. There is so much more to the funeral visit than simply agreeing where, when and how to hold the funeral. Very often the person conducting someone's funeral has never met that person nor indeed the mourning family and friends. Isn't that an amazing fact? Fortunately it does not mean that the funeral is doomed from the outset to being an empty and mediocre exercise. However it does mean that a lot of relating has to be squeezed into a very short time and at a very stressful time. This is quite a challenge! It is a challenge from both sides: the minister faces the prospect of saying meaningful things to people with whom he has little or no pastoral relationship and they are looking for comfort from a relative or absolute stranger.
Recommended publications
  • [Kbs6i.Ebook] Fall out Pdf Free
    kbs6I [Download] Fall Out Online [kbs6I.ebook] Fall Out Pdf Free Alan Stevens, Fiona Moore ebooks | Download PDF | *ePub | DOC | audiobook Download Now Free Download Here Download eBook #700791 in eBooks 2013-05-28 2013-05-28File Name: B00D2XP70A | File size: 79.Mb Alan Stevens, Fiona Moore : Fall Out before purchasing it in order to gage whether or not it would be worth my time, and all praised Fall Out: 0 of 0 people found the following review helpful. Free to simply Be ... or not to be?By Tim LukemanWhile there have been many excellent books about "The Prisoner" in the past decades, this particular volume shows that there's still plenty of room for more -- especially if they're as in-depth thought-provoking as this one. As noted by previous reviewers, this book isn't so much about the making of the series as it is about the themes of the series. And to its credit, the book doesn't attempt to impose a definitive answer to any of the questions raised by this TV masterpiece -- rather, it explores the many possibilities of the themes, including paradoxical ones. This makes it a true delight to read, as it'll draw you into those themes encourage you to contribute your own thoughts impressions to the ongoing discussion.Let me add that the book never descends into a morass of academic jargon. The style is clear, informative, and always inviting, assuming intelligent readers who welcome different viewpoints. That the series lends itself to this approach so readily indicates why it remains gripping contemporary after half a century.
    [Show full text]
  • CBS, Rural Sitcoms, and the Image of the South, 1957-1971 Sara K
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971 Sara K. Eskridge Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Eskridge, Sara K., "Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971" (2013). LSU Doctoral Dissertations. 3154. https://digitalcommons.lsu.edu/gradschool_dissertations/3154 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RUBE TUBE: CBS, RURAL SITCOMS, AND THE IMAGE OF THE SOUTH, 1957-1971 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Sara K. Eskridge B.A., Mary Washington College, 2003 M.A., Virginia Commonwealth University, 2006 May 2013 Acknowledgements Many thanks to all of those who helped me envision, research, and complete this project. First of all, a thank you to the Middleton Library at Louisiana State University, where I found most of the secondary source materials for this dissertation, as well as some of the primary sources. I especially thank Joseph Nicholson, the LSU history subject librarian, who helped me with a number of specific inquiries.
    [Show full text]
  • THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
    1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour.
    [Show full text]
  • Many Happy Returns Filming1
    The Prisoner’s hazardous sea shoot - nautical log recorded by Roger Langley. In Many Happy Returns, the raft and boat section of the story makes up one of the longest scenes in the Prisoner series. Apart from some episodes with static set action, such as Once Upon a Time and Fall Out, the seafaring sequences in Returns, from casting off the raft in the Village, to No. 6 making landfall near Beachy Head on England’s south coast, lasts for over eleven minutes, nearly a quarter of the episode’s duration. Returns was one of the original batch of episodes, along with Arrival, Chimes, Free, Dance, Checkmate and Hammer. As the prisoner pushes his craft away from shore with a pole, the Stone Boat is in view. The sight of the structure is ironic, reminding No. 6 that the vessel is of no use to him and that a rudimentary raft represents his only means of escape, although putting him at the mercy of the waves and the elements. The Village black cat looks on, hopefully wishing the amateur sailor good luck. The animal belonged to one of the local extras and was also used for the next episode Dance Of The Dead. Filming of the episode’s scenes at sea took place at Abersoch, about twenty miles from Portmeirion. From amateur cine footage, the location can be seen as offshore near St. Tudwal's Island, about a kilometre off the coast. The quality of the screen grabs in this article reflects the original film’s age and shooting done with a domestic hand-held camera.
    [Show full text]
  • Cadillac Desert Upended That Notion by Illuminating How Precarious the American West’S Water Supply Was—Something Few People Knew at the Time
    Contents 1. Title Page Map A Semidesert with a Desert Heart A Country of Illusion The Red Queen First Causes An American Nile (I) The Go-Go Years Rivals in Crime Dominy An American Nile (II) The Peanut Farmer and the Pork Barrel Chinatown Those Who Refuse to Learn . Things Fall Apart Epilogue Afterward Postscript Photographs Acknowledgments Bibliography I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert . Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: “My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!” Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away. PERCY BYSSHE SHELLEY INTRODUCTION A Semidesert with a Desert Heart One late November night in 1980 I was flying over the state of Utah on my way back to California. I had an aisle seat, and since I believe that anyone who flies in an airplane and doesn’t spend most of his time looking out the window wastes his money, I walked back to the rear door of the airplane and stood for a long time at the door’s tiny aperture, squinting out at Utah. Two days earlier, a fierce early blizzard had gone through the Rocky Mountain states.
    [Show full text]
  • One-Man-Band: Clough Williams-Ellis’ Architectural Ensemble at Portmeirion
    Beneficiaria COLFUTURO 2018 One-Man-Band: Clough Williams-Ellis’ architectural ensemble at Portmeirion Maria Angelica Manosalva Dissertation MA Architectural History, UCL September 2019 Beneficiaria COLFUTURO 2018 Abstract One-Man-Band: Clough Williams-Ellis’s architectural ensemble at Portmeirion This thesis argues that Portmeirion, a holiday resort in North Wales built and designed by Sir Clough Williams-Ellis from 1925 to 1976, is not an ‘idiosyncratic playground of little interest’ but an architectural site that not only followed the pattern of expansion of seaside tourist resorts in Britain since the early 1900s but also responded to them through its unique and sustainable ‘light-opera’ approach. Whilst the village’s characteristic look corresponds to the fact that Williams-Ellis aesthetically designed every corner, down to the last detail, it also reflects his lifelong efforts of introducing pleasurable and accessible forms of architecture to the public. Through a narrative mode of creative-writing describing a journey to Portmeirion, the strong association of the village with fictional stories such as the 1960s TV series The Prisoner and its long disregard within British architectural history are challenged – thus positioning Portmeirion as an exemplar of reactions against what were regarded as unsympathetic rural leisure developments in the early-twentieth century. Keywords:Clough Williams-Ellis, Leisure, Tourism, British Culture, Narratives, Preservation. [ iii ] Beneficiaria COLFUTURO 2018 Contents Abstract iii Introduction
    [Show full text]
  • Du Verger Final
    COUNTERCULTURAL TOPICS AND VISUAL ECHOES IN THE PRISONER (1967), PLANET OF THE APES (1968-1973) AND JOHN FROM CINCINNATI (2007) Jean du Verger ENSMM Besançon There is a revolution coming. It will not be like revolutions of the past. It will originate with the individual and with culture, and it will change the political structure only as its final act. It will not require violence to succeed, and it cannot be successfully resisted by violence. […] This is the revolution of the new generation. Charles A. Reich, The Greening of America (1970) During the late 1960s and early 1970s television produced, through a series of innovative and at times unusual shows, what M. Keith Booker terms a “cognitive estrangement” (Booker 2). These shows encouraged viewers to “look at the world in new and different ways, rather than merely act as passive consumers of the television signal” (2). Yet, despite its crucial impact, television cannot be seen as a significant force for social and cultural change at the time. As a matter of fact, it was rejected by the counterculture movement, notably by one of its gurus, Charles A. Reich. Television was envisioned by Reich as an instrument of social control which deeply influenced “public consciousness” (Reich 95). Nevertheless, the present study will try to show how television eventually impacted the counterculture movement. In order to substantiate my claim, I will, therefore, examine how certain television series and films played, to a certain extent, a part in the social upheavals as well as mirrored, through a number of visual echoes, the growing scepticism of the younger generation of the late sixties and early seventies.
    [Show full text]
  • In the Loop: a Reference Guide to American English Idioms
    IN THE LOOP A Reference Guide to American English Idioms In the Loop: A Reference Guide to American English Idioms Published by the Office of English Language Programs United States Department of State Washington, DC 20037 First Edition 2010 Adapted from: Something to Crow About by Shelley Vance Laflin; ed. Anna Maria Malkoç, Frank Smolinski Illustrated American Idioms by Dean Curry Special thanks to Elizabeth Ball for copyediting and proofreading this 2010 edition. Office of English Language Programs Bureau of Cultural and Educational Affairs United States Department of State Washington, DC 20037 englishprograms.state.gov Contents v Introduction vi How Each Entry is Arranged 1 Part 1: Idioms and Definitions 103 Part 2: Selected Idioms by Category 107 Part 3: Classroom Activities 121 Index Introduction Idiom: a group of words that means something In the Loop is a collection of common idioms different than the individual words it contains updated and compiled from two previous books of As with any language, American English is full idioms published by the Office of English Language of idioms, especially when spoken. Idioms Programs: Illustrated American Idioms by Dean add color and texture to language by creating Curry and Something to Crow About by Shelley Vance images that convey meanings beyond those of Laflin. In the Loop combines the popular aspects of the individual words that make them up. Idioms the previous books, while also updating the content are culturally bound, providing insight into the by including idioms that have come into use more history, culture, and outlook of their users. This recently and eliminating those that are rarely used.
    [Show full text]
  • A CHRONOTOPIC ANALYSIS of MARSHALL Mcluhan's "GLOBAL VILLAGE" and PATRICK Mcgoohan's the PRISONER
    "THE WHOLE EARTH AS VILLAGE": A CHRONOTOPIC ANALYSIS OF MARSHALL McLUHAN'S "GLOBAL VILLAGE" AND PATRICK McGOOHAN'S THE PRISONER Nicole Maggio Submitted in partial fulfillment of the requirements for the degree of Interdisciplinary MA in Popular Culture Faculty of Social Sciences, Brock University St. Catharines, Ontario © October, 2008 11 Dedicated to Patrick McGoohan (March 19, 1928 - January 13,2009) iii ABSTRACT: Marshall McLuhan's "global village", and his theories on communications and technology, in conjunction with Patrick McGoohan's television series The Prisoner (ATV, 1967-1968) are explored in this thesis. The Prisoner, brainchild of McGoohan, is about the abduction and confinement of a British government agent imprisoned within the impenetrable boundaries of a benign but totalitarian city -state called "The Village". The purpose of his abduction and imprisonment is for the extraction of information regarding his resignation as a government spy. Marshall McLuhan originally popularized the phrase "the global village" in The Gutenberg Galaxy: The Making o/the Topographic Man (1962), asserting that, "The new electronic interdependence recreates the world in the image of a global village" (p. 31). This thesis argues that valid parallels exist between McGoohan's conception of "village", as manifested in The Prisoner, and McLuhan's global village. The comprehensive methodological stratagem for this thesis includes Marshall McLuhan's "mosaic" approach, Mikhail Bakhtin's concept ofthe "chronotope", as well as a Foucauldian genealogicallhistorical discourse analysis. In the process of deconstructing McLuhan's texts and The Prisoner as products of the 1960s, an historical "constellation" (to use Walter Benjamin's concept) of the same present has been executed.
    [Show full text]
  • The People Behind the Prisoner
    THE PEOPLE BEHIND THE PRISONER (Converted from publication article with tables, so not original layout) Leaving aside editors and other crew members - all of course highly important - the main planning and production of The Prisoner was in the hands of more than two dozen men, who, one way or another, created the series, or contributed directly to it. What follows is a revealing and retrospective look at those involved, presenting an overall view of the series’ gestation and birth. Feature © Roger Langley. Introduction Studio production was housed in the Borehamwood Metro-Goldwyn-Mayer complex, situated fifteen miles north of London. The principal personnel were Patrick McGoohan as executive producer, occasional writer and director, with David Tomblin as series producer and, briefly, director. Tomblin, who had been born in Borehamwood, worked previously with McGoohan on Danger Man and together they were the sole directors of Everyman Films, the Prisoner production company. Also on board was George Markstein, as writer on Arrival and series script editor, except on four late episodes. The McGoohan and Markstein collaboration produced the idea for the series, based around the use of British wartime internment camps. Markstein created an initial synopsis after McGoohan declared that he would do no more Danger Man episodes. The new Prisoner series was to be a blend of espionage and sci-fi fantasy, but with its roots set in fact, leading to seventeen episodes being eventually produced for television. Don Chaffey and Pat Jackson each directed four episodes, being outdone by McGoohan, who headed five. Markstein, who had also worked with McGoohan on Danger Man, had a circle of known writers.
    [Show full text]
  • Euphemism Issue 12.1
    EUPHEMISM Issue 12.1 Fall 2016 EUPHEMISM 12.1: A JOURNAL OF THE CREATIVE ARTS FALL 2016 Euphemism is edited by undergraduate and graduate students at Illinois State University. We accept innovative poetry, fiction, creative nonfiction, visual art, spoken word, experimental sound and video projects, and original music from ISU students and from any and all writers, singers, musicians, artists, and film- makers who send submissions. We welcome all lovers of words, sounds, ideas, images, and creativity. Our goal is to publish writers and artists at varied points in their careers. Euphemism has a prestigious history as ISU’s literary journal. Formerly known as Druid’s Cave and The Triangle, The ISU Department of English has published a growing number of exciting and innovative creative genres over the last decades. The current editorial board honors our past editors, writers, and artists and hopes to continue the strong tradition of creative expression at ISU. TABLE OF CONteNTS Letter from the Editor • vii CHANTEL REEDER Euphemism Staff Fall 2016 • viii ART Focus • 45 CHANTEL REEDER Moonlit Disposition • 52 KATIE SALL Plucked • 62 CHANTEL REEDER A New View (cover image) • 67 STacY MADDOX Skeleton in the Water • 95 STacY MADDOX Prime Wolf • 103 KATIE SALL The Real Super-Humans • 108 ZackERY JONES Still I Set • 117 KATIE SALL Ineffable • 123 CHANTEL REEDER Aurora • 132 CHANTEL REEDER July Sky • 146 KATIE SALL Cages • 160 ALEXANDRA DAGGETT FICTION Out Sick • 3 ZOE SCHMIDT Road-Crossed Lovers • 8 FORREST CHEATWOOD Coffins and Doughnuts• 13 FORREST
    [Show full text]
  • COURT of CLAIMS of THE
    REPORTS OF Cases Argued and Determined IN THE COURT of CLAIMS OF THE STATE OF ILLINOIS VOLUME 40 Containing cases in which opinions were filed and orders of dismissal entered, without opinion for: Fiscal Year 1988 - July 1, 1987-June 30, 1988 SPRINGFIELD, ILLINOIS 1989 (Printed by authority of the State of Illinois) (73047-300-8/89) e. PREFACE The opinions of the Court of Claims reported herein are published by authority of the provisions of Section 18 of the Court of Claims Act, Ill. Rev. Stat. 1987, ch. 37, par. 439.1 et I seq. The Court of Claims has exclusive jurisdiction to hear and determine the following matters: (a) all claims against the State of Illinois founded upon any law of the State, or upon any regulation thereunder by an executive or administrative officer or agency, other than claims arising under the Workers’ Compensation Act or the Workers’ Occupational Diseases Act, or claims for certain expenses in civil litigation, (b) all claims against the State founded upon any contract entered into with the State, (c) all claims against the State for time unjustly served in prisons of this State where the persons imprisoned shall receive a pardon from the Governor stating that such pardon is issued on the grounds of innocence of the crime for which they were imprisoned, (d) all claims against the State in cases sounding in tort, (e) all claims for recoupment made by the State against any Claimant, (f) certain claims to compel replacement of a lost or destroyed State warrant, (g) certain claims based on torts by escaped inmates of State institutions, (h) certain representation and indemnification cases, (i) all claims pursuant to the Law Enforcement Officers, Civil Defense Workers, Civil Air Patrol Members, Paramedics and Firemen Compensation Act, (j) all claims pursuant to the Illinois National Guardsman’s Compensation Act, and (k) all claims pursuant to the Crime Victims Compensation Act.
    [Show full text]